Staffordshire-based Dan Walsh takes a journey through the hugely influential Captain O’Neill’s traditional music collection. DAVE McNALLY has a listen
FRANCIS O’Neill from Co. Cork settled in Chicago in the late 19th century, became a policeman (later captain, as he is often referred to), played various instruments and, most significantly, collected and published Irish traditional tunes.
His books have exercised a huge influence on which tunes have been most commonly played ever since.
Staffordshire-born banjo player Dan Walsh’s early heroes were Barney McKenna of the Dubliners and Gerry ‘Banjo’ O’Connor. Dan dreamed of making an album of his favourite Irish tunes and, after numerous solo and collaborative albums over the last 15 years – including with guitarist Brook Williams, concertina player Alistair Anderson, the Urban Folk Quartet, and harmonica player Will Pound, he finally got around to recording — as it says on the cover — ‘a selection of ‘jigs, reels and hornpipes from the O’Neill’s Collection of Irish Dance Tunes’.
The popularity of many of these tunes, the likes of the The Old Bush, Jenny Picking Cockles and The Salamanca Reel (all in the opening set of reels), as well as Within A Mile Of Dublin, Fermoy Lasses and more, is easy enough to explain. It has come about through the combination of the notation being easily available in printed form, and transmission through direct hearing — at seisúns and recordings. And also for the simple reason that they are such great, memorable tunes, appealing to players and listeners alike.
Dan Walsh plays them in an accomplished, unfussy fashion, leaving the focus on the core melodies.
A set of jigs – Strop the Razor/The Rivals/Kesh Jig – show’s Walsh’s adept finger picking at pace, with a glorious version of the Kesh Jig. Chief O’Neill’s/Cork Hornpipe is a lovely set of hornpipes, with a fabulous, loping swing and there’s a charming set of slip jigs – a fine, rolling Comb Your Hair and Curl It, combined with Swaggering Jig. Walsh accompanies himself on guitar on most tunes, providing a subtle rhythmic backdrop, and he plays a sprinkling of bodhran. Drops Of Brandy/Last Night's Fun/The Rising Sun sees Walsh resting the banjo and showcasing his not insubstantial guitar skills.
Searching out far less familiar but no less appealing tunes from O’Neill’s collection of 1001 tunes is something Walsh has done a grand job of. Humours Of Ballinacarrig sits very well alongside the well-known reels in The Old Bush set. On Roudledum/Dairy Maid – a slip jig and jig – Walsh switches to banjola (a banjo with a mandola body), still with guitar accompaniment. There are a couple of similarly lesser known hornpipes, Coming From The Wedding/The Star Hornpipe, serving to highlight Walsh’s delightful, rolling banjo style.
Dan Walsh brings a freshness and a notably different approach to how he plays these tunes. Through his local banjo teacher George Davies and listening to the music of American banjo and guitar player Ken Perlman Walsh learnt how to combine the grace and melody of his Irish banjo heroes with the percussive rhythmic style of clawhammer banjo to produce a quite unique banjo sound. The album follows on from a successful tune book of the same title and, whether you play or not, the eloquence, dynamism and sheer chirpiness of O’Neill’s Tunes is a great listen.
Available from: www.propermusic.com/products/danwalsh-oneillstunes
